The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1887-11-08

""'h nave uihue the french play SO entiTciy
acceptable to Americans. But only in treat
mcnt Is the play French. The great ability
OF the author Is particularly demonstrated
In the fact that he has written a play which
Is 80 judiciously grounded In human nature
That, though the scene be laid in England, 1t
calls for no knowledge of locality to enhance.
Its interest. Iii pitched in quiet key, but
Is not the less absorbing on that account 1t
begins with love scene, and though its end
Is tragic, the spectators eyes fill with CRATE
ful tears over the assurance that the ultimate
tate OF those to whom his sympathies have
been drawn is wholly felicitous. IL is
story OF house built upon sand
life reared upon foundation
OF crime. The central figure is the architect,
who, lulling the voice of conscience by the
assurance of immunity, finds happiness in
the contemplation Of the beautiful surround
ings lac has given those whom he loves, and
in the honors which u mistaken world
has heaped upon him. Now and
then the spectre obtrudes, and when it does
he grows defiant revealing the evil predis-
position which, though II may lie dormant,
is never wholly inert. He has built into his
house iilial affection, wifcly regard and tho
trust Of his fellows But the necessities
OF self-prescrvation are terrible in
their rgor and unrelentng in their exact
ions. His own successes grow appalling
when lac considers the woes that will come
should the house fall But "Jim the Pen
man" is master. At the critical
moment he rises TO the ext
gcncy and makes recompense by saving
those whose happiness depends upon the
utter concealment from the world of the
identity OF Jim the penman." He docs
this in remarkable way, the ingenuity oi
the dramatist being equal to the emer
gency, and the spectators being &C
corded the exquisite pleasure OF
complete surprise. Tho situation with
which 1t ends is the true climax Of the play
and though there Is man dead and q mar
entrapped though joyous wedding break
fast is awaiting the host und though the end
Of the story Is not reached, yet so clearly b
the outcome defined that the audi
once forcsees the complete reward
o. virtue and the disappearance, from live'
worthy of happiness, OF the hidcous spcctcl
which has so long cast u balcful shadow
upon them. The play is like one Of Dorc''
cartoons graphic without close detail, clio
quent without elaboration.
The actors fitted themselves TO their re
spectiye parts most satisfactorily. Who wa
best we do not know, for with them III,
play was the thing, and each was careful
that no jurring intrusion Of personality
should disturb the orderly and auflicen
development Of the drama. The per
Torrance was an example OF individual
subOrdination highly crcditablc 10 the ar
tistic temper Of the company, and such rs !
all too rarely seen upon the stage. The cr
pecta,iOns Of the audience, which was yer!
largc-tho thcater hcissamost entirely file,
werc sansginc, bat they were mora that
fulfilled. Mr.. Whiting was Jim, the Pen
man, part made dil!cut by its Qua
nature and the almost constant necessity 70
the repression Of that emotional dis
play which oftcntimcs covers q multitud
uf sins IN an actor. But he did not fail 4
bring out the character with all essential en-
phasis. Miss Dyas as the wrongcd wife
gave a most pleasing impersonation, full a
dignity and, upon occasion, full OF fcrvor. Il
the interview with the husband, IN III
last act, She might, with propricty, have pa
more force into her denunoiation, for III
scene evidently has been contrved for
stormy cncounter. Mr. Ferguson, as the detect
i've, disguised as a saphead, was Sctcdin A.
happy and won the largest share Of the even
ing's fayors. Mr.. Robertson, Us "Jim's
partner in crime, made n very picturcslu
yillain-a German baron living by swindlin
an altogether capital bit Of character actin
Good words might well be spoken 81 III
work Of the remainder Of the company, 70
as we have said, each and every ono coutril
uted noccptably 10 the highly succc. i
presentation Of play which Is r;m9 p 40
as an exposition Of genuine dramatic art